Serial Composition with In/Out points

I`ve asked that question a while back in the prerelease forum but did not made any progress since then so one more try.
I would like to play a series of videos. For those videos i want to specify individual in and out points.
So the first video should start at 0.30 and have a duration of 40 sec for example.
So basically i want to create a playlist of media elements with in points and out points. The whole thing should look like it`s one video.
So there should be one seek bar that scrubs over all video elements and gives me the correct video...
Is this a supported scenario? If not will it be supported? If it`s already supported any help in getting me started would be welcome :-)
Thanks
Benjamin

This is on our feature roadmap as subclip support, slated for inclusion in the Nov/Dec/Jan time frame.

Similar Messages

Dragging a clip made with In/Out points from viewer

I'm using Tom Wolsky's book FCE 3.5 to learn FCE 4.
I'm hoping it will at least get me through some of the minutiae.
I'm on page 44 and 45 "Slicing your clips" and under "Slice 1" #9 it says I should drag the marked clip from the viewer and drop it in my newly created bin marked "Clips".
When I drag whats in the viewer with my new In/Out points into my browser, I'm dragging the entire "Temple" clip into my browser that has the marked In/Out points on it, not just the clip made with the In/Out points.......my understanding is that I'm supposed to be dragging the clip I just made, not the entire Temple scene with the In/Out points simply marked......
Naturally, any help or scathing insight would be great!

I guess I wasn't supposed to be dragging the clip itself, but the master clip >with In/Out points on it..........
but the master clip >with *(_new in/out points_ and been made to a Modify>Make Master Clip)* In/Out points on it.
The new ones are now independant.
Al

How to serial composition with smooth streaming(ism/isml) media?

How to create serial composition with smooth streaming media in osmf player. Like I have smooth streaming media file and I want to play some specific section as single media element from it.
clip 1 contain 10-20 sec part
clip 2 conation 260-500 sec part
etc..
is that type of implementation supported in osmf player.

Customize Media encoder using MEF is not a simple thing...
https://social.msdn.microsoft.com/Forums/windowsapps/en-US/a6de0da9-c065-433d-a443-057deb00735e/play-live-stream?forum=winappswithcsharp
http://blogs.iis.net/cenkd/archive/2012/03/28/How-to-build-your-first-html5-metro-style-smooth-streaming-player.aspx
Best Regards,
Please remember to mark the replies as answers if they help

Set Composition In and Out Points

Hello
I'm sure this is simple but a new look to CS6 has thrown me!
Say I have created a composition named 'MasterComp' which comprises several layers of Footage. I now want to place frames 100 to 300 of MasterComp within a new composition named Comp01, how do I do this?
I used to simply double-click MasterComp in the Project panel and then in the preview window set the time to 100 using the timeline and click the 'In Point' button. I would repeat this to set the 'Out Point' and then drag the MasterComp from the Projects pallete into my Comp01 panel.
There appears to be no timeline in CS6 when previewing a composition along with the associated ability to set the in/out point.
Any guidance would be very helpful.
Chris

Hello Rick
Thanks for your thoughts. Perhaps I was not clear. If I remember correctly, in CS5.5 I could double-click a composition to preview it and there would be a timeline beneath it so that I could scrub up and down and set the in/out points. I have reset my Standard Workspace and there is no timeline beneath a Composition when previewed. There is, however, for a Footage item.
Composition Settings only lets me adjust the Start Frame and Duration. I don't want to make a global change to the composition, simply set an in and out point for the composition's use when placed within another composition.

Problems with in/out points when submitting jobs via Terminal/command-line

I've writting a GUI based script which allows a user to select a source Quicktime file, and will encode that file to multiple formats, and trims each destination based on specific timecode in/out points. However, I'm having problems getting the Compressor command-line interface to honor the in/out timecodes that I've explicitly set for multiple jobs within a single commandline.
In other words, if I want to encode a source Quicktime between 01:00:00:00 and 01:00:29:23 with just ONE setting/destination, then the following commandline works:
/Applications/Final\ Cut\ Studio/Compressor.app/Contents/MacOS/Compressor -clustername MHM -batchname CLI_BATCH -jobpath /Volumes/mel/temp/20120329/TEST_SRC.mov -settingpath /Volumes/common/settings/compressor/M9_Slave/_Local_/OTWC.setting -destinationpath /Volumes/mel/temp/20120329/TEST1234_Testing30_OTWC.mov -in 01000000 -out 01002923
But if I try to append multiple settings/destinations to the commandline, Compressor will only honor the -in/-out arguments which appear in the LAST -jobpath instance in the commandline.
For example, the following commandline will properly encode the file to multiple destination files, using the appropriate .settings file, but it ignores the -in/-out points that were set for any -jobpath instance that appears before the last -jobpath instance (in other words, every file is output using 00:59:57:00/01:00:30:01 as the in/out points, instead of having the "*_OTWC.mov" file output using 01:00:00:00 as the in point)
/Applications/Final\ Cut\ Studio/Compressor.app/Contents/MacOS/Compressor -clustername MHM -batchname CLI_BATCH -jobpath /Volumes/mel/temp/20120329/TEST_SRC.mov -settingpath /Volumes/common/settings/compressor/M9_Slave/_Local_/OTWC.setting -destinationpath /Volumes/mel/temp/20120329/TEST1234_Testing30_OTWC.mov -in 01000000 -out 01002923 -jobpath /Volumes/mel/temp/20120329/TEST_SRC.mov -settingpath /Volumes/common/settings/compressor/M9_Slave/_Local_/HNN-HD.setting -destinationpath /Volumes/mel/temp/20120329/TEST1234_Testing30_HNN-HD.mov -in 00595700 -out 01003001
It's wierd that everything else about this command-line syntax works as expected (and as explicitly stated in the Compressor -help output, which says "when submitting individual source files. (The) Following parameters are repeated to enter multiple job targets in a batch"), except for the -in/-out points.
I've even tried quoting the -in/-out arguments using colons (e.g., -in "01:00:00;00") , but this doesnt appear to change the behavior.
Is this a bug, or am I missing something here?

I've writting a GUI based script which allows a user to select a source Quicktime file, and will encode that file to multiple formats, and trims each destination based on specific timecode in/out points. However, I'm having problems getting the Compressor command-line interface to honor the in/out timecodes that I've explicitly set for multiple jobs within a single commandline.
In other words, if I want to encode a source Quicktime between 01:00:00:00 and 01:00:29:23 with just ONE setting/destination, then the following commandline works:
/Applications/Final\ Cut\ Studio/Compressor.app/Contents/MacOS/Compressor -clustername MHM -batchname CLI_BATCH -jobpath /Volumes/mel/temp/20120329/TEST_SRC.mov -settingpath /Volumes/common/settings/compressor/M9_Slave/_Local_/OTWC.setting -destinationpath /Volumes/mel/temp/20120329/TEST1234_Testing30_OTWC.mov -in 01000000 -out 01002923
But if I try to append multiple settings/destinations to the commandline, Compressor will only honor the -in/-out arguments which appear in the LAST -jobpath instance in the commandline.
For example, the following commandline will properly encode the file to multiple destination files, using the appropriate .settings file, but it ignores the -in/-out points that were set for any -jobpath instance that appears before the last -jobpath instance (in other words, every file is output using 00:59:57:00/01:00:30:01 as the in/out points, instead of having the "*_OTWC.mov" file output using 01:00:00:00 as the in point)
/Applications/Final\ Cut\ Studio/Compressor.app/Contents/MacOS/Compressor -clustername MHM -batchname CLI_BATCH -jobpath /Volumes/mel/temp/20120329/TEST_SRC.mov -settingpath /Volumes/common/settings/compressor/M9_Slave/_Local_/OTWC.setting -destinationpath /Volumes/mel/temp/20120329/TEST1234_Testing30_OTWC.mov -in 01000000 -out 01002923 -jobpath /Volumes/mel/temp/20120329/TEST_SRC.mov -settingpath /Volumes/common/settings/compressor/M9_Slave/_Local_/HNN-HD.setting -destinationpath /Volumes/mel/temp/20120329/TEST1234_Testing30_HNN-HD.mov -in 00595700 -out 01003001
It's wierd that everything else about this command-line syntax works as expected (and as explicitly stated in the Compressor -help output, which says "when submitting individual source files. (The) Following parameters are repeated to enter multiple job targets in a batch"), except for the -in/-out points.
I've even tried quoting the -in/-out arguments using colons (e.g., -in "01:00:00;00") , but this doesnt appear to change the behavior.
Is this a bug, or am I missing something here?

Setting in-and-out points -- is this possible?

I set in-and-out points in the preview window by dragging the blue triangles.
I would like to sample various parts of a clip, though there are only 2 triangles.
1. Is there a way to take one segment of video and establish in-and-out points for maybe the first 30 seconds of video and than set another in point maybe 1 minute later with a out point 30 seconds after that. So ultimately the encoding will encode two non-sequential segments of video.
Thanks.

You can't do that, but you can achieve what you want by simply dragging in the clip multiple times into Compressor and for each clip, set your in and out point.

Copy In to Out points in timeline?

If i'm in the timeline and have in and out points set over a portion of a clip how can i copy the portion between the in to out points to paste else where like you can in fcp?
Thanks

Curious (and also wondering if CS3 is different from CS4):
I was very confused until I realized that Patrick must be referring to Sequence in/out points.
Patrick, why are you using Sequence in/out points? I'm not suggesting you shouldn't, just curious. Help files address these as relevant to 3 and 4 point edits, or doing lift/extract operations. I couldn't understand why you weren't simply copying and pasting the clip, since a clip with in/out points will paste just as is (i.e. Jim's method).
> Set your in/out points on the clip in the timeline
Jeff, can you put clip in/out point while it is in the timeline (other than dragging the end)? And if you drag the clip, then all you need to do is copy/paste.
Harm, there's no short cut to setting the in and out points your way, is there?
Another option:
Select the clip in the timeline
Go to Sequence in marker.
Add a clip marker
Go to Sequence out marker.
Add a clip marker
Double click clip (opens in Source Monitor)
go to markers and set in/out points on clip
Move CTI to new clip location
Add clip to timeline

Batch Capture Randomly Changes In and Out Points

I'm editing a documentary on Final Cut Pro 5.0.
Using a SONY DSR-11 firewire deck.
I logged sets of clips and then batch captured them. I DIDN'T select add handles in the batch capture tool. Some clips, as they're captured, change their in and out points. Sometimes by two frames early, sometimes by two frames late, and sometimes not at all. Several clips even stopped captured with an out point twenty seconds earlier than what I'd logged. The result is that I have clips with media start and media end points that are not in what I wanted. There seems to be no rhyme or reason whatsoever to this.
Any ideas what's going on?
Many Thanks if you do!
Micah
G4 Mac OS X (10.4.6) Dual 1.25 Processors

Check to see if your tapes have NDF time code.
If you play a tape with NDF TC using Log & Capture, the current time display will defaut to DF until the tape palys forward long enough for the current time field to update. It is posible to log NDF tapes as DF, in which case the timecode values can be incorrectly re-converted if recapturing.
Also, If you initiate a batch capture from the browser, FCP will default to DF, and not be able to update the TC format to NDF duriing the batch. The workaround here has been to cue up NDF tapes with L&C, and start the batch capture while L&C is still open and showing NDF TC.
However, upon upgrading to FCP5 last year, I found that even observing all these precautions and steps, FCP would still shorten the out point of my captured clips on NDF tapes. I was capturing a feature film that came from the UK, and so the starting time on the master was 10 hours instead of 1 hour. When the DF/NDF error occurred and shortened the out point of my 2-hour clip, it did it by several minutes instead of several seconds, because of the starting TC on the tape. In that case, I wound up adding several minutes to my out point and recapturing the end over again.
I haven't experienced this issue lately, but it comes up every now and then.

Ignore Source Out Point

Maybe I'm just having one of those mornings, but I can't seem to figure out how to get Premiere to Ignore the out point on my source clip (in a 4 point edit).
I see in the manual (I even looked in the manual!) that I should be able to select that option, but the problem is I am never presented with the option. It's possible I clicked a "Never show this again" type checkbox, and if I did, how do I get these choices back:
If the marked source and program durations differ, select an option when prompted:
Change Clip Speed (Fit to Fill) Maintains the source clip’s In and Out points, but changes the clip’s speed so that its duration matches the duration determined by the sequence In and Out points.
Trim Clip’s Head (Left Side) Automatically changes the source clip’s In point so that its duration matches the duration determined by the sequence In and Out points.
Trim Clip’s Tail (Right Side) Automatically changes the source clip’s Out point so that its duration matches the duration determined by the sequence In and Out points.
Ignore Sequence In Point Disregards the sequence In point you set, and performs a three-point edit.
Ignore Sequence Out Point Disregards the sequence Out point you set, and performs a three-point edit.

I've struggled with this function for weeks - I couldn't figure out how to change it! Just today I spent 10 minutes tracking it down as it was driving me insane that my source clip out points were taking priority over the out point I set in the timeline. I think part of the problem lies in some of the nomenclature surrounding this feature. First of all just to find the preference, its named Fit Clip and what I'm trying to accomplish has nothing to do with "fit to fill" - fit-to-fill is a speed function, not an edit/overwrite function - but it's labeled as "Fit Clip" in preferences. Then in the resulting dialog that controls this functionality we're presented with the fit-to-fill function as well as options to control in/out point priority but with confusing descriptors 'trim' as well as 'ignore' for essentially the same functionality. Ignore is probably the most accurate of the two, but using trim here is absolutely wrong. Trim to an editor is a specific function not related to overwrite editing with in/out points (or a speed change like fit-to-fill). So why is 'trim' being used to describe what is essentially edit point priority? And why is a speed change function (albeit one induced by an overwrite edit) lumped into the same dialog?
My solution: make the fit-to-fill functionality a keyboard modifier, like option or shift while dragging from the bin or invoking the Overwrite function. Then change the nomenclature surrounding the Fit Clip dialog: remove the fit-to-fill option, remove all references to 'trim' in the dialog and rename the 4-point edit functionality to edit point priority.

Freeze up during clip capture with random change of in and out points

Having BIG problems capturing DV footage which began late last Fall. While performing a capture (assigned clips) footage would go down for a few seconds then would freeze (picture only, the audio continued) then after several seconds the picture would "catch up" and continue.
Found a solution here in the FCP forum where I had my firewire drives "ignored" by SPOTLIGHT by listing them in the privacy selection. Worked and moved on.
I have a project now where the problem has come up again. Once again during a clip capture it did what it did before - but now it ignores the assigned in point (audio but no video and almost consistently delaying it by 9 seconds into the capture) then freezes (at the assigned outpoint - sometimes) then continues to play on (audio only) then resumes (again catching up) then stops announcing a SUCCESSFUL CAPTURE. When the clip is selected to preview it plays back from the incorrect in point, freezes, then plays until the catch up - with now the audio out of sync. More craziness because now the log information now has changed: the MEDIA START & END information is not what was inputed so the DURATION TIME is now different and sometimes it adds a MARK OUT point (!?). I rarely use the CAPTURE NOW function but even trying that the footage still freezes up and goes out of sync.
I worked the SPOTLIGHT routine again with no change. Have completely optimized my system drive and external hard drives using DISKWARRIOR 4.1
I accept all the auto software up dates that come through UPDATER and see that I received a updated Quicktime version 7.5 on 13 June 08. I also noticed that I don't have CLASSIC OS 9 supported and seemed to have read here about something about FIREWIRE DRIVERS that maybe missing?
Was thinking of upgrading to 10.5 to see if that helps - but unsure about my FCP version/compatability...
So, here I sit frustrated since I have used FCP (which I LOVE) for quite a few years with great success - this is crazy! OF course, I have a project which deadline is looming!
Any ideas?
Much appreciation..
Here's my computer stats:
G4 Powerbook
OS 10.4.11
FCP 5.0.4
QT 7.5
Sony DSR-11 recorder/player
4-Firewire Drives with 20gigs of space available

So far have done a workaround to digitize my DV elements through iMovie. Not pretty. I string together the selected/import clips (in this case from interviews), assemble them in sequential order on the time line with small breaks of black in between, then export the timeline as DVCPRO/DV-NTSC quicktime file. Take that file into my FCP then segment out the clips on the time line, make each segment an independent clip so that I can name them. Not pretty but it works - miss having the logging data going through FCP log and capture.
Still waiting for any other solution to my situation - thanks!
John

Has anyone else noticed issue with in and out points of Ratings?

Hi,
I have noticed that for some clips, the end point of a rating (i.e. Rejected) is the same as the in point of another rating (e.g. Favourite).
How can this be? Is FCPX treating the out point as the frame after the selected section of a clip, rather than the last frame of the selected section?
This may relate to another post I have made on in and out points, but was a slightly different issue:
https://discussions.apple.com/message/17142309#17142309

I agree with your assessment, but really Apply should change this so that the end point of a rating is inclusive (i.e. the end point of the REJECTED rating above should be 00:03:09:14 not 00:03:09:15).
Another bug to report to Apple!

Batch convert clips cut with razor instead of in and out points. How?

I cut a lot of clips on a big file with the razor instead of marking in and out points and now I want to batch convert. How?
Adobe CS5.5

Hi AK,
AngusKirk wrote:
I cut a lot of clips on a big file with the razor instead of marking in and out points and now I want to batch convert. How?
Adobe CS5.5
You can do that in Premiere Pro CC, but not before. Drag the clips from the Timeline to a bin and then export.
Thanks,
Kevin

Can I control the in and out point of a layer with a keyframe?

Hi all, I'm working in a sort of template for a series of mograph videos. Some sort of motion typography work.
The animation is always the same but the only thing that changes is the length of the video (for legibility purposes).
I was wondering if I can control the in and out points of a layer with the keyframes from another layer.
Lets say Layer's A keyframe from slider 1 position in time is the out point (plus/minus an offset would be also great) of layer B.
I've been playing with expressions on a regular basis but I don't really know where and how to write an expression like that or if it's possible.
Thanks in advance

This should probably be moved to the expression forum then.
I'm not sure I understood the details of your project but here's a basis: you can do that with an expression in the layer's time remapping property. So if you want a layer to start playing at the second keyframe on another layer, you can try something like (writing in my browser, watch for mistakes):
//   The "number" of the keyframe (first, second, third, etc)
var index = 2;
//   The layer with the keyframes
var l = {pick-whip the layer with keyframes here};
//   Just a safety, check the layer has at least enough keyframes
if (l.numKeys >= index)
     //   If yes, the new time is the difference between the keyframe's time and the current time
    max(0, l.key(index).time-time);
else
     //   Doesn't matter, let's return 0
    0;

My mail, when reading an email, has an icon which is like a box with an arrow pointing down into it, what is it for? When I tap it my email goes "somewhere" out of my inbox. It still apperars in "all Mail" mailbox.

My mail, when reading an email, has an icon which is like a box with an arrow pointing down into it, what is it for?
When I tap it my email goes "somewhere" out of my inbox. The email, which was moved from my inbox still apperars in "ALL Mail" mailbox.

That is the "Move" the email icon. Tap on that icon and you can move the email to any box or folder that is in black type on the left side of the window - under the Mailboxes heading. If the type is in grey on the left side - that box or folder is not an option that you can use.

Problem with 23.98 can't type in and out points

Using FCP 6.06 with G5 and Kona 3. When I try to either digitize footage or edit to tape in 23.98 fps I can't physically enter a timecode value. When I do and hit enter it defaults to a random timecode. It will not except the number I type.
My gen lock is fine. I even ran a direct reference from our HDWF500 deck directly into the computer. Kona was happy, I had deck control but no ability to type in my in out points.
The easy set up I had selected was Kona 3 10bit uncompressed 23.98spf.
The strange thing is that it works fine with a 29.97 or 59.94 tape or time line.
Any advice would be greatly appreciated.

This actually happens to me all the time in FCP - never in Avid's capture tool.
Usually I open and close the capture tool (Apple + 8). Pull the deck control, change deck control settings to non-controllable and then back again. A tell tail indicator that your deck isn't talking to your Kona is the jog/shuttle in the capture window. I test that before I type timecode into the window.
//Fremen

Serial Composition with In/Out points

Similar Messages

Maybe you are looking for